Finding the Time to Write

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By John Gilstrap
www.johngilstrap.com

“Where do you find the time to write?” It’s among the most common questions asked of me—by writers who find out that I have a day job, and by neighbors and colleagues who find out that I write books. As if we’re only capable of doing one thing at a time.

Back in the early nineties, when I was in my transition phase between thinking about firing up my writing muse and actually doing it, I was inspired by the story of Tom Clancy, the then-unknown insurance guy who had rocketed to fame with The Hunt for Red October. Clancy’s calendar was constructed of the same 24-hour days as mine, yet he was able to find the spare time to write a blockbuster novel. Ditto Stephen King and James Patterson and Linda Fairstein and Tess Gerritsen and . . . a lot of people.

The bottom line is this: If you want something badly enough, you don’t find the time to do it, you create the time to do it. If we waited until it was clear how we could afford any of life’s milestones—the courage to get married, the commitment to have kids, the money to buy a house, or the time to write a book—nothing would ever get done. You set the goal and you forge ahead. Along the way choices have to be made, meaning maybe the nightly reruns of Seinfeld aren’t as important as you thought. Or maybe you can in fact survive on six and a half hours of sleep a night instead of eight. The ticking clock being the constant, every choice made within its cycle is a statement of one’s priorities.

Let’s start with the basics: family and the day job. One nourishes the soul—gives us a reason to live—the other keeps food on the table. As far as I’m concerned, neither is expendable in the pursuit of publication.

Childhoods are fleeting, and soccer games are important. Don’t sacrifice those. Stories are important, too, but imaginary friends should never trump their flesh-and-bone counterparts. Not in my world, anyway.

The day job is the day job. While I have always been blessed with jobs that I enjoyed, none of them have ever been about writing, except as incidental other duties. I imagine that it’s probably easier to settle in to write after a day of safety engineering than it would be after a day of, say, writing technical manuals; but toughing it out is what victory is all about. If it were easy, everyone would do it.

When all is said and done, there are a gajillion reasons not to write your book. Just about anything on earth is more appealing than addressing the Page One blinking cursor. There’s no shame in not creating the time. But the words will not write themselves.

None of us has enough time; but each of us has all the time there is. How do you create the time you need to fulfill your writing jones?

Namesakes

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by Michelle Gagnon

Like many other writers, I’ve set up a Google alert based on my name. Generally this lets me know when a review of one of my books has posted, or when they’re being sold on ebay (the latter more than the former, sadly). However, due to an error on my part when I was establishing the account, it turns out that I receive news pertaining not just to me, but to pretty much every Gagnon in the English- and French-speaking world.

I was going to adjust it, but some of the tidbits trickling in were so interesting I decided to stick with the original search parameters. After all, I’m probably related to all of these people somewhere down the line. One of my aunts did a full family tree awhile back, and apparently nearly every Gagnon in North America is descended from one of three brothers who immigrated from Normandy to Canada back in the 1600’s. I even have a list of what they brought over on the boat with them- the most interesting item being a jar of worms, since they weren’t certain there would be any in the New World and, as farmers, this was a matter of great concern to them.

What I’ve learned: Gagnons tend to do well in school. Nearly every day I get a post about someone making the honor roll. Sadly, they also have an unfortunate predilection for a life in crime, although apparently they’re not very good at it, since according to local crime blotters the overwhelming majority of them get caught. I wonder what kind of trajectory that indicates. How does Matt Gagnon go from the Dean’s list to knocking over pharmacies? It’s a conundrum.

One name tends to pop up more than the others, however, especially this week. Marie-Michele Gagnon is an alpine skiier from Quebec (where those farmers initially set up homesteads-apparently in some parts of Quebec, “Gagnon” is as common a name as “Smith” in the US.) This year, the twenty year-old made the Canadian Olympic team, and will be representing them (and us) in Vancouver.

I confess to experiencing a swell of pride when that news came over the wire. I’ve been inadvertently tracking Marie-Michele’s career for some time now. She started popping up regularly as a finalist (and occasional winner) of downhill events. Since our names are so similar, it piqued my interest even though I’ve never been much of a skiing fan in the past (this is largely thanks to an unfortunate experience the first time I hit the slopes, when my best friend at the time took me down a black diamond as a joke. It turned out that it wasn’t very funny, and I haven’t been on skis since).

I was beyond thrilled to learn that Marie-Michele won the Nor-Am overall title for 2008-09 season–although I ‘m not entirely certain what that means, it certainly sounds like she’s doing well. And it’s reassuring to know that although I clearly didn’t get the skiing gene, at least one of my distant relatives did. Maybe I’m descended from the wrong brother.

Marie-Michele will be participating in the Ladies’ Slalom and the Ladies’ Giant Slalom next week. I’m feeling quite nervous for her. Come prime time, I’ll be sitting in front of the television, clutching my honorary jar of worms, fervently hoping that she doesn’t experience one of those terrible wipeouts that seem to occur regularly in these events. I hope you’ll join me in wishing Marie-Michele the best–after all, she’s a tribute to Gagnons everywhere. And if this doesn’t work out for her, I sincerely hope she resists the temptation to turn to the dark side.

I’m tagging her in this post, because who knows- maybe she’s been inadvertently tracking me as well.


Flashback to the future

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By Joe Moore

Flashback is a writing technique that allows the author to convey backstory while remaining in the present. It usually involves a situation in which something in a  current scene causes a character to reminisce or ponder a past event. The reason to create a flashback is to build character or advance the plot, or both. The secret to successfully employing this technique is to construct a smooth transition into and out of the flashback so as not to confuse the reader.

One of the easiest ways to enter a flashback is with the word “had”.

As Jim walked through his old neighborhood, a distant dog barking reminded him of the day he and his friends had skipped school to . . .

In addition, you want to shift the time progression from simple past tense (As Jim walked) to the past perfect tense (his friends had decided). Once you’ve entered the flashback and established the “past”, you can then revert back to simple past tense. At the conclusion of the flashback, use “had” again to transition back to current time.

Jim climbed the steps of his childhood home knowing those summer days with his friends had been the best times of his life.

In addition to transitions in and out of the flashback, it’s also important that the timeframe in which the flashback covers somewhat matches the real-time in which it’s experienced by the character. For instance, a flashback that covers the highs and lows of a woman’s previous marriage cannot be experienced during her stroll from the kitchen to the bedroom. But it would be an acceptable timeframe if she poured a glass of wine, strolled out onto her back porch and experienced it while sitting and watching the sun set and night fall. The reader must accept that the past and present timeframes are not unreasonably out of sync.

One final thought about flashbacks: it’s not a good idea to use one in the first few chapters. They can be quite confusing if thrown at the reader too soon. Wait until your reader has established at least a basic relationship with a character before taking them on a leap into the past. Flashbacks should be used sparingly. Better yet, use other techniques to relay backstory and avoid flashbacks altogether.

What do you think about flashbacks? Do you use them in your writing? As a reader, do they work for you? Are flashbacks a necessary evil or a solid writing tool?

Exercise your creativity

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So this week I’ve been walking with Mac, my newly adopted dog (No, that’s not me in the picture, but the dog looks like Mac). During our jaunts we have to climb an enormous hill, and I wind up huffing and puffing like the Big Bad Wolf. The experience has underscored the extent to which I’d fallen into a sedentary rut before I got Mac. Make that a trench.


People often say that exercise is good for creativity. After just one week I can’t tell much difference in my writing juices, so I decided to do a bit of research into the question: Does doing exercise assist creativity?

The good news: I found references to studies which indicated that yes, exercise does increase creativity. The bad news: That boost doesn’t happen for people who are physically unfit. In cases such as moi, the fatigue from exercise seems to overwhelm the creativity boost. Sometimes this is out of your control because of a medical condition amd normally these people can only just about manage floor pelvic excercise. Therefore, if you are wondering “where can I find a gynecologist near me” you should perform a Google search to find the answer for yourself.


That may explain why I haven’t noticed any surge in productivity or inspiration this week. But there’s always hope: As I get in better shape, I should be able to reap the benefits of exercise. A friend suggested that I try out some Boston, MA Tennis Lessons to help me get into the swing of it.


What about you? Does exercise get your creative juices flowing? What kind of activity do you do?

Approaching Agents at Conferences

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by Clare Langley-Hawthorne


Writers (and fan) conferences provide unpublished writers with a great opportunity to approach and talk about their work with agents. Recently there have been a few email threads on MWA as well as Sisters in Crime about how writers should go about approaching the whole ‘agents at conferences’ thing, and I thought I’d lay down what I think are some of the basic ground rules.

1. You need to do your homework.

Obvious, I know…but all too often this doesn’t get done. I’ve been at conferences where writers have pitched an idea for a western/science fiction cross-over novel to an agent that only moments before announced that they do not represent either of those genres. It is a waste of everyone’s time and energy to pitch your work to an agent who is clearly not interested in representing the kind of work you do. Almost every agent has a website or an entry in publishers’ marketplace so do yourself a favor – check before you pitch. Don’t rock up at a conference and pitch to every agent you meet – target your approach – check the attendance lists, research which agents represent the kind of writing you do (and the writers you admire) and make sure you know who you should pitch to (and by extension who you should not).

2. Your manuscript must be perfect (and finished).

I remember chatting to a writer at a SinC meeting once, and she told me she had met an agent at a conference who had requested to see her work – only problem was, it wasn’t ready to be sent out. The writer asked me whether I thought it would be okay for her to send the manuscript out now (some 12 months later)…My answer – good luck with that! The agent probably has no idea who you are by now. The moral of this story is obvious – you need to be ready to send the complete manuscript before you pitch your work which also leads to ground rule number three…

3. Send exactly what the agent requests (no more, no less).

If an agent at a conference tells you to send a formal query letter abide by that request, if they ask for the first 5o pages send just the first 50 pages (don’t send them your entire manuscript). Do what they ask you to do. I’m sure it frustrates the heck out of agents to have writers send them material they did not ask to see.

4. Be professional at all times.

A professional pitch at a conference is totally acceptable, shoving you manuscript under a bathroom stall is not. Make sure you appear confident (and sane) which means no stalking the agent…They are (remember) just human beings. Most agents I’ve met are approachable and kind. They will tell you if they are interested and will let you down gently if they are not – so just be yourself and act like a professional (you want to be treated like one, after all).

5. Have your pitch ready. Memorize it. Practice it. Perfect it.

You need to be able to tell an agent with confidence exactly what your manuscript is about in under 3 minutes (no agent is going to listen for half an hour as you outline every chapter in the book!). I’m more than happy to listen to someone’s pitch and give feedback and I’m sure lots of other writers are too – the more feedback and practice you get, the more confident you’ll be when you finally get the chance to speak to the agent of your dreams. As I rough guide I think you should have a high level 1-2 minute concept (the elevator pitch) and then have a more detailed synopsis you can tell, should the agent ask you for more details. I also find a one-page written synopsis is handy – because you can hand this to an agent if they express an interest – just be sure to have your name and email address on this just in case the agent wants to contact you about it (hey, you can dream can’t you!).

Many conferences have specific sessions in which writers get to pitch their work to agents and editors. At the first writers’ conference I ever attended I participated in a ‘speed dating for agents’ session and, although horrific and stressful, it gave me experience pitching my manuscript and interacting with agents about my work. Even when there aren’t such sessions available, however, conferences provide a great opportunity for writers looking for an agent. As these ground rules show all you need to be is prepared.

So what about you all – do you have any other ‘ground rules’ or advice on approaching agents at conferences?

Do Not Go Gentle Onto That Good Page

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James Scott Bell

Do not go gentle into that good night . . .Rage, rage against the dying of the light. – Dylan Thomas

Brett Favre, one of the best quarterbacks ever to play the game of football, was supposed to be over-the-hill at 40. But he recently finished what is probably his finest season and almost got the Minnesota Vikings to the Super Bowl. In the NFC championship game against the New Orleans Saints, he took a beating. He was on the turf constantly, sometimes under 380 pounds of beef. In the second half he got his left ankle twisted, limped off, got re-taped, and came back into the game. But for a number of turnovers by his teammates and one ill-timed interception, the Vikes would have won. It was an inspiring performance, adding to his legend.

Robert B. Parker, creator of Spenser and one of the most prolific authors of our time, died last month at the age of 77. He was supposed to be over-the-hill, too. Some critics thought he was, but most readers did not. Parker was turning out books to the very end, and not just in his Spenser series. He had other series going, including Jesse Stone, which Tom Selleck has brought to TV. He also wrote stand alones and Westerns.

He was reportedly about 40 pages into a new Spenser novel when he died at his desk of a heart attack.

For a writer, baby, that’s the way to go. I only hope I’ve just typed the last page.

Regardless, Favre and Parker are two guys who refused to go gentle into that good night. To write well, there has to be a part of you that is determined to rage, rage against the dying of the light––and against rejection, criticism and the slough of despond.

You’ve got to have some attitude.

Now, this attitude is not the same as arrogance. Arrogance shouts and gets tiresome pretty fast. Attitude is just as ornery, but it’s quiet. It does its work and keeps on doing it. It wants to prove itself on the page, not in the mouth. And it refuses to give up.

A knock on Parker in the latter phase of his career was that he wrote too much, sacrificing quality. Well, that’s between him and his readers. He wrote, they bought, they enjoyed, maybe some got frustrated. But the relationship was lasting, and the man was doing what he loved.

If you love to write, you’ll find a way to do it. No one can promise how that’ll turn out. No one can guarantee you a publishing contract. But you’ll never get close if you don’t rage a little, and turn that into determination to keep writing, keep going, keep producing the words.

My grandfather and my mom both wanted to be writers. So they wrote. My grandfather wrote historical fiction and ended up self-publishing some of it. It’s really not bad at all, but it’s very niche stuff. Yet I remember him being proud of it, and it pleased the family.

My mom wrote radio scripts while she was in college in WWII. I have a whole bunch of them. Quite good. She worked on a small local newspaper when I was a kid. I remember, when I was twelve or so, finding a short story she wrote, a sci-fi kind of thing, that had a cool twist ending. She never got it published but it influenced at least one young writer––me.

So do not go gentle onto that good page. At the very least you’ll know you’re alive, and you won’t walk around (as Murray says in A Thousand Clowns) with that wide-eyed look some people put on their faces so no one will know their head’s asleep.

Rage a little, throw the heat, write.

How do you actually feel when you’re writing? What’s going on in your head? And how long do you expect to be writing?

Who Am I?

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by Carla Buckley

Thank you to The Kill Zone authors for letting me sidle in here today, and thanks especially to John Ramsey Miller for hauling out the soapbox and giving up his day to me, and for the many ways he’s championed me these past months. One of the things I’ve been delighted to learn on my path to publication is that although thriller writers create the stuff of nightmares, they themselves are the kindest, most generous people around. Maybe it’s because they get all the ugly stuff down on paper and all that’s left is the good stuff.

My debut novel is about to be published. After writing full-time for fifteen years, working hard at my craft and producing seven novels (four of which were agented), I would have thought I knew a thing or two about the publishing business. But the only thing I’ve learned as my publication date approaches is how very little I know. Take for example, the concept of genre.

When I submitted The Things That Keep Us Here to my agent, she cautioned me. “I’m not quite sure where it fits. It’s part family drama, part thriller, part dystopian novel.” “Oh,” I said, brightly. “That’s not a problem, is it?”

I laugh at my naïve self. I truly do.

In order for an agent to pitch a project, she has to know what she’s selling so she can find the right editor. In order for an editor to drum up in-house enthusiasm, she has to know how to describe to sales, marketing, and publicity, what it is they’re going to be supporting. In order for those various departments to reach out to their various markets, they have to know what they’re pushing. In order for bookstores to buy in, they have to know where they’d shelve the book, so that in turn, the right readership can find it. Then we can all live happily ever after.

The thing is, I didn’t really know what I’d written.

I’m a huge mystery reader and so I started off by writing traditional mysteries featuring, in turn, an art investigator, a female firefighter (the research for that was fun), and a female implosion expert. It wasn’t until I became consumed by media reports that mankind was due for another pandemic on the scale of the 1918 Great Influenza Pandemic, that I threw mysteries aside. I wrote instead about a family caught up in a pandemic and it unraveled directly from my heart. Try explaining that to your agent.

“Well,” I said. “You sure it isn’t a thriller?”

“Not quite,” she said.

It wasn’t until it landed at Bantam Dell that my novel, whatever it was, found a home. My editor, who specializes in thrillers and mysteries, agreed: “This isn’t a thriller. It’s cross-genre, both family drama and thriller. It’s new.”

The last thing I wanted to do was sound stupid to my editor so I said, “Oh.” As if I understood exactly what she was saying. Was it because most of my action takes place within one family’s home, instead of sprawling across the world, taking the reader from the White House to the Kremlin to German scientists feverishly working on a cure? By telling the story from one family’s perspective, and therefore playing out the drama of a pandemic threat in every reader’s own living room, I thought it would make the ride that more thrilling. Don’t other thriller writers do the same thing–focus their story so intimately on the characters involved that you’re helplessly caught up in the story? Maybe it’s because I give equal weight to the thriller part and to the family part. Maybe that’s what makes me a hybrid.

I’m not the only author straddling two genres. As a member of the ITW Debut Author Program, I’ve gotten to know some other debut authors who are facing the same quandary: releasing a book that doesn’t quite fit onto one genre shelf. How their publishers handle finding a place for them in the book world varies, with some books being pushed closer to one category than another. It’s a bit nerve-wracking to watch cover art and titles adjust to reflect a dual personality, and it’s a learning process for everyone involved. My own novel was submitted under the title, Flu Season, and went through numerous incarnations before settling into The Things That Keep Us Here.

I’ve come to think that cross-genre is yet one more demand on the current publishing model, a world that is learning to adjust to ebooks, nontraditional publishing modes, social networking, and so on. As the world moves to a faster rhythm, how do publishers cut through the noise to position their products, and doesn’t having an unusual product make that process more difficult? Aren’t cross-genre books a bigger risk for authors and publishers and booksellers, alike?

An unpublished writer contacted me recently. She’s in the process of submitting a mystery to agents, and while waiting to hear back, has ideas for various other projects that intrigued her, some of which are hard to categorize: middle school vampire story verging on YA, women’s fiction with an element of horror.

“Do you have to stick to one genre?” she asked me. “Can’t I just mix it all up?”

What do you think I should tell her?

My Fumble Recovery

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By John Gilstrap
www.johngilstrap.com

A couple of months ago, I ran into a longtime friend I hadn’t seen in years, and he asked me why I’d stopped writing. The last book of mine that he’d read was Scott Free, which came out in 2003. When I told him that I’d written two books since then, he expressed shock and asked why I hadn’t told him.

In the pantheon of really good questions, that one shoots right to the top. I thought I had told him. I mean, I’m on Facebook, right? And I tweet and I’ve got a website. I spent a lot of money on publicity and advertising for No Mercy. How could he not know? Even as I type those words, I realize how impossibly naïve I sound.

When At All Costs was published in 1998, my wife and I developed a comprehensive mailing list of 1,500 people. This included everyone from family to old high school classmates I hadn’t spoken to in years. It even included my wife’s old classmates. We entered all of the data into a mailing list program, and we mailed a ton of postcards announcing the birth of the book. Hands down, At All Costs was my bestselling book.

Running into this longtime buddy was my wake-up call to how thoroughly my publicity efforts have deteriorated. When I really looked, it’s obvious where I dropped the ball.

In retrospect, I made a couple of critical errors. First, it was a mistake to use a mailing list program instead of a simple Excel spreadsheet. After a series of computer upgrades, the mailing list became unreadable. We failed to collect email addresses at all, but given that it was 1998 and email was not the ubiquitous presence that it is today, I cut myself a break there. Finally, we had no way to keep track of people as they moved. If you don’t actively farm your mailing list, it becomes useless with astonishing speed.

My biggest mistake along these lines came in 2004 with the publication of Six Minutes to Freedom, my nonfiction collaboration on the rescue of Kurt Muse from a Panamanian prison. I talked myself into ceding the lion’s share of promotion to Kurt himself, figuring that people would rather hear from the coauthor who actually lived the story than the guy who merely put it in writing. I neglected to consider that my fans are my fans, not Kurt’s.

As a practical matter, then, until No Mercy was released last summer, fans of my work thought I’d disappeared for six years. And publishing years are like dog years. Never again.

A week ago, I sent my first email newsletter. Even though I’ve lost most of my old snail mail list, I’ve captured lots and lots of email addresses over the years, and I’m letting everybody know what’s going on in my writing life. I haven’t yet decided how often the newsletter will come out, but I’m pledging two things: 1) that I won’t release one unless I have something to say; and 2) it will never be longer than a single page.

I’ve been resistant to such emails in the past primarily because of the hassle of keeping the mailing list current. Who needs the agony of removing people who unsubscribe, or culling the addresses that are no longer valid? Even adding individual subscribers is ultimately time consuming.

Well, wouldn’t you know? There are websites that do all of that for you. I found one that is extraordinarily affordable. Of the 1,200 addresses in my initial email list, 200 turned out to be bad, and the program eliminated them. Twenty or so have asked to be removed from the list, and the program handled that, too. Thirty-five people have clicked the link to subscribe, which means that they’ve either visited my website or clicked the newsletter link to see a sample and subscribe.

Best of all, I’ve received emails from several dozen people who were unaware that I was still writing books. Of course, that didn’t touch the number of people who wrote to tell me about the typo in the first news item. Hey, at least they’re reading.

I’m sure there are a number of sites that do this sort of thing, but I’ll be happy to share this particular site with anyone who drops me an email.

So what about you? How do you keep in touch with your long-time fans? Do you like author newsletters, or are they annoying pains in the hindquarters? (I can go either way on that one.) Let us hear from you.

My Officemate is a Deity

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by Michelle Gagnon

File this under my personal favorite category: truth is stranger than fiction.

I’m lucky to be part of a writing coop called the Sanchez Grotto. A former crack den has been subdivided into small offices, each rented by a different writer. I’m in the “Secret Garden room” in the back, in my personal opinion the best space because it’s right off the kitchen (easy access to food) and has a view of the backyard.

We’re an unusual mix, everything from a travel writer to a screenwriter to an ER psychiatrist. Recently, a member of our motley crew vaulted from relative obscurity to the big time (in Bull Durham terms, he went to “The Show.”)

Raj Patel is a brilliant economist and social activist. His latest nonfiction book, THE VALUE OF NOTHING, is a look at how free market economies have at times done more harm than good. The week of the book’s release, he was interviewed by Stephen Colbert on The Colbert Report. It’s a great interview, which kicks off with Colbert digging his interview questions out of the slot in his desk where they’d fallen with his tongue. See it here for a good laugh.

Raj’s book subsequently made it to the New York Times bestsellers list, and everything was going along nicely.That’s when things started to get weird.

He began receiving emails- first a few a day, then hundreds, then a massive flood. Not from Nigerian princes, either- these were from folks asking if he was indeed the Maitreya, and if so how he planned to save the world.

Apparently there’s a New Age guru called Benjamin Creme who has assigned himself the task of alerting the world when the “Maitreya” shows up. For those of you (like me) who have never heard of this before, the Maitreya is supposed to be a great teacher who unites all the religions- sort of a Messiah for everyone.

As it happens, at a public lecture at Friends House, Euston Road, London, on 14 January 2010, Benjamin Creme announced that, “Maitreya, the World Teacher, has given His first interview on American television. Millions have heard Him speak both on TV and the internet. His open mission has begun.”

Guess who appeared on television on January 12th?

So Creme’s followers, not dissuaded by the fact that he’s been wrong before, scoured the airwaves and stumbled across Raj’s interview. What really convinced them was that not only is he a social activist, he’s also of Indian descent, was born in 1972, and has a slight stammer. All of which match the Maitreya checklist.

So believers started flying in to attend his events, some spending thousands on plane tickets.

Raj, understandably perplexed by being thrust into a surreal, “Life of Brian” existence, has vehemently denied all attempts to deify him.

The problem is, apparently if the Maitreya appears, that’s exactly what he’ll do- deny that he is in fact the savior. So the more Raj insists that he’s not what they’re looking for, the more followers believe. Their forums have gone ballistic. They’ve spliced his Amazon author interview together with a Maitreya montage to show the parallels in their philosophies.

Now, I suspect we’ve all known writers who thought they were God. But do we know any who were mistaken for one?

Our other office mate Scott James wrote a piece on this for the NY Times, if you’re curious to hear more details click here.

Just think- if I made this up, chances are no one would believe it.

The Right Environment to Write

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By Joe Moore

I had a discussion at a recent luncheon with a couple of my fellow authors about our individual writing environments and where we prefer to work. One likes to take her laptop to the local coffee shop while another prefers the library. A third writes at home like me. It seems to vary as much as our stories do.

I work from my home office—a commute of 20 or so paces from the kitchen counter where I’ve had coffee and read the paper. It’s an environment in which I feel comfortable and have yet to tire of. Here’s a photo:

joe-moore-office

My home office has blackout curtains that I can close if I want to set a mood or maintain a constant light level throughout the day. I’m a neat freak so my desk is usually well organized. I’m very impatient and don’t like to wait for programs to load or items to process, so I use a Dell super gaming computer with Intel Quad Core processing. Although I don’t play games, I find that it makes things happen in a blink of an eye.

I also use 3 flat screen monitors allowing me to have my email, word processing and Internet all open so I can see everything at once. Sometimes I sit and patio 053 stare at my fish tank. So does my cat—his name is Patio. But I convinced him that the tank is really a small TV always tuned to Animal Planet. He bought into it and leaves the fish alone, choosing instead to curl up on a nearby wooden chair and sleep his life away.

I have a large collection of movie scores converted to MP3s that I play while I write to set a dramatic mood. The back of home office is full of bookcases containing all my reference books and favorite novels.

I enjoy gazing out my window as I ponder my next plot point. I have a number of golden coconut palms in my yard and a ton of ferns—there can OLYMPUS DIGITAL CAMERA never be enough ferns. In the mornings and evenings,  the palm trees are filled with (non-native) Quaker parrots who like to squawk at rock-concert volume. The rest of the day, I listen to the cardinals, nightingales and blue jays discussing the best worm-infested hunting grounds. At certain times of the year, dragonflies zoom past my window at sunrise like miniature Apache gunships hunting for mosquitoes. In the evening, the motion detector lights turn on to illuminate a passing raccoon.

I live a few miles from the eastern edge of the Florida Everglades, so it’s common for me to see a long-legged white egret, a flock of ibises or a great blue heron wandering across my lawn.

All in all, it’s a great writer’s environment; one that I’ve worked hard to make into a comfortable environment in which I can be creative.

What about you? Where do you like to write? A busy Starbucks or a quiet space? Have you done anything to your writing environment to encourage creativity?